‘Case Study’ Architect at 100 - Page 2

Born in 1924, Thorne grew up in Piedmont, California, building his first house at age eight alongside his grandfather. Entering World War II, he trained as a fighter pilot (though the war ended prior to his deployment). He graduated from his architectural studies at the University of California at Berkeley in 1950.

"When Thorne became famous with the Brubeck House" in the mid‐1950s, Struckmann says, "he actually said it ruined his life because they thought he would work for famous people, and he wished to work for everyone."

Years before the Brubeck House, the architect had changed his name from Beverley to David (his grandfather's name). But eager to remain out of the limelight, 'the man of steel' decided to un‐list his phone number and return to the name 'Beverley.'

Built as a spec house, the Music House was built for Wally Runswick, owner of the Prescolite lighting company based in Berkeley. Since 1996, Herbert Bielawa, a professor and early electronic music composer, and Sandra Soderlund, an organist who performed internationally, have owned the single‐family residence together.

Looking to add a music studio, the couple reached out to Thorne to design one for them.

Completed in 2000, the addition, Plotkowski says, "has less exposure because it's nestled in the creek. There's a very powerful feeling of being with nature in that lower unit."

Suspending the new studio space from the main house made for a remarkable structure that literally hangs over the creek from the main beam of the house. A vaulted ceiling and glass floor, Plotkowski says, provide inspiration and ideal acoustics for musical performances.

As with so many of his homes, Thorne took a personal interest, hand welding, and pitching in at every level. Permitting wasn't easy (it never was for Thorne projects), and when Bielawa and Soderlund became discouraged, Thorne encouraged them to have tenacity.

When Thorne wouldn't accept payment upon the addition's completion, Bielawa created six musical compositions about the house as a heartfelt tribute to the architect that Plotkowski describes as "ragtime piano, contemporary music, edgy, and erudite—really fun pieces."

"I think the house should be known, and I want people to have the chance to discover it," Plotkowski says. "The house is so impressive, Thorne absolutely had to overengineer everything to convince the building department it was okay—basically as strong as a freeway bridge."

For more information and photos of the Music House, click here.